Vendu pour : 76 050 $

PROVENANCE
The PSBGM Cultural Heritage Foundation

BIBLIOGRAPHIE
Jeremy Adamson, Lawren Harris: Urban Scenes and Wilderness Landscapes, 1906 - 1930, 1978, page 54
Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie Walter Klinkhoff Inc., 1990, listed, unpaginated

EXPOSITION
Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson Retrospective Exhibition, September 10 - 22, 1990, catalogue #1

A.Y. Jackson’s lusciously painted Snow on Spruce Trees is reminiscent of Lawren Harris’s exquisite northern wilderness deep-woods snow scenes executed from 1914 to 1918. Harris had seen a pivotal exhibition of modern Scandinavian northern landscapes at the Albright Gallery in Buffalo in 1913, and been greatly impressed, particularly by Gustav Fjaestad’s stunning scenes of snow and frost-covered trees. This vigorous and raw approach to the land was a hot topic among the future Group of Seven members, who were in close contact through the Arts and Letters Club and the Studio Building in Toronto - Jackson having moved into the Studio Building in 1914. The North beckoned both Harris and Jackson, particularly Algonquin Park in that decade, and in 1914 Jackson took two trips to Algonquin Park, joining Tom Thomson in the fall. The response of Group painters to the beauty of the North in winter produced iconic works, and Snow on Spruce Trees is a splendid example. Jackson’s approach is vigorous, with thick brush-strokes creating an almost abstract pattern of snow-laden branches, in a surprisingly bold and modern treatment.

It is interesting to compare this lot to lot 158 by Lawren Harris. Jackson and Harris often worked together, even sitting side by side to sketch at times. By 1914, Jackson would have seen the earliest of Harris’s fine winter works, such as Morning Sun, Winter, now in a private collection, which was painted in the Studio Building in January and February of 1914. Also, Harris exhibited one of his earliest winter landscapes at the November 1914 Royal Canadian Academy exhibition, Winter Morning, dated 1914, now in the collection of the National Gallery of Canada. Perhaps inspired by Morning Sun, Winter, and no doubt encouraged by Thomson’s descriptions of the park, Jackson ventured to Algonquin Park alone in February of 1914, arriving in 45 degree below zero weather and, in a letter to J.E.H. MacDonald, wrote that he “found it just as Lawren had said, you don’t notice the cold one bit, all you notice is your breath dropping down and splintering on the scintillating ground.”

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